The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 117

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345

USA > New York > Kings County > Brooklyn > The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II > Part 117

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Squad of Mounted Police-Sergeant Johnson, Alderman Fisher, and Supervisor Quimby. Committeea, in Carriagea. Forty-Seventh Regiment Band. Forty-Seventh Regiment. Detachment of Fourteenth Regiment. Gatling Battery, without piece. Conterno's Band. Twenty-Third Regiment, as Guard of Honor, leading the flank- ing first Hearsea. Hearses-Seventeen. Forty-five Undertakers' Wagons, with from one to four Coffina in each. Carriages with Relatives and Friends. Carriages with Ministers and Officials. Thirteenth Regiment and Drum Corps of forty pieces.

All along Flatbush avenue and the line of march, the side- walks were crowded with spectators, all with sad faces, and the DIRGE, which the band had been playing, ceased for & time, while the roll of forty muffled tenor drums marked the time of the military. Solemnly impressive as had been the muaic of the band, it seemed less effective than the roll of the drums. Now and then could be heard the deep knell of the city's fire and church bells, as the bitter, violent north winda swept from that portion of the city. This effect had almost the form of melody, and impressed itself on the heart aa monotone sobs; and the air grew heavy with the weight of those meas- ured pulsations of half-voiced articulatives that seemed to drop

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THE DRAMA, OPERA, MUSIC AND ART.

down from the black fringing clouds of the heavens. Along both sidewalks moved steadily. a silent multitude; there was no talking to beguile the weary way ; only a sullen resistance to the frenzy of the gale, which, bitter as it was, seemed as a bright contrast to the sufferings of the helpless hundreds who were had been roasted, like hecatombs, alive.

The drums ceased, and from the military bands wailed forth Bnother dirge, more weirdly sad than the first. A trembling, thrilling cry, as of a stricken soul, voiced by a single cornet in a high trembling note, accompanied the deep sub-sonorous sounds of the base instruments, which seemed to utter sighs as they kept time to the dramatic situation.

The march was a terrible one, for its deep oppressive gloom, the deadly cold, the grief on every hand ; but that portion of Sixth avenue to the gate of Greenwood Cemetery was in all re- spects the worst. All the way across the wide vacant spaces to- ward the bay, the ice-blast seemed the breath of death itself. At three o'clock, the funeral halted on "Battle Hill," where the arrangements for the interment of the bodies in one com- mon grave had already been made. Here a circular trench had heen cut, seven feet deep and thirteen feet wide, surrounding a round aodded space ten feet in diameter, upon which a monu- ment was to atand. One by one, the hearses and the undertakers' wagons passed up the main avenue, each in turn stopping to deposit its ghastly freight, and then moving away. Twelve cemetery employees received the coffins and lowered them to their last reating-place. They were placed in double row, the heads all pointing toward the monumental centre. The work was not delayed, but was necessarily slow. Meanwhile the ceme- tery bell kept up its sad tolling, "rolling on the human heart a stons." The fury of the gale soon made it evident that human endurance would not be able to bear any protracted obsequies. With wonderful fortitude, not less than five thousand persons maintained their places around the grave. At length, the coffins were all in place, containing 101 bodies. Sixty German singers, members of the Brooklyn Saengerbund, South Brooklyn Quartet Club, Schuetzenfest, and Brooklyn Maennerchor, led by W. Groschel, atood upon the centre plot and sang Abt's "Repose." The Rev. John Parker read the Episcopal burial service. The Rev. Dr. Putnam, instead of the extended funeral oration which he had prepared for the occasion, announced that the extreme cold would preclude the possibility of its delivery, and said & few brief words on the uncertainty of life and the blessed hopes of immortality. Then a benediction was pronounced by the Rev. Mr. Odell, and the ceremony concluded with the singing by the Germania choir of Kuhlan's beautiful choral, "Above all summits there is repose."

The graves were soon filled in, and many of the spectators took up handfuls of earth and dropped them reverently into the trench before turning away for their homes. One man, a stalwart Englishman named Weeden, a Long Island farmer, stood on the central plot until all had departed, and with tear- dimmed eyes bent upon the earth-covered coffins, he dropped some flowers; for among that group of unrecognized dead rested his son.

The esrly evening shadows fell upon the great mound rounded over the unclaimed dead, with a fragile but beautiful monument in the form of a large floral crown and cross, placed there by the Germania Theatre Company. The wind had ceased its howling, the night became clear and bitter cold, and the bright stars in the dark blue of the heaven looked like crystallized tears quiver- ing over the hill of the dead.

THE ACTORS' FUNERAL .- On Sunday afternoon, December 10th, the funeral services of the two actors, Mr. HARRY MURDOCK and Mr. CLAUDE BURROUGHS, took place in the "Little Church Around the Corner," in Twenty-ninth street, New York City. Long be- fore the hour of service, two o'clock, a large crowd was gathered about the doors and in the church. The celebrated Dr. Houghton conducted the service. At the words " Ashes to ashes," there

was a visible movement of agitation among the congregation, which comprised nearly all the leading members of the dramatic profession in the city. After the short burial-service had been read, the musical portion of the sad rites took place. Mesdames Gulager and Pappenheim, Conradi, Gomien and McDonald, and Messrs. Fritsch and Sohst, had volunteered, with Carl Berg and Louis Dachauer at the organ. "I know that my Redeemer liveth " was given with tearful effect. At the conclusion of the service, the coffins, which were covered with flowers, were carried to the hearses, followed by the pall-bearers. The coffin containing the remains of Harry Murdock was taken to the Pennsylvania Rail- road Depot, at Jersey City. Claude Burroughs' remains were conveyed to the receiving vault in Second avenue, in New York City.

THE MEMORIAL SERVICES, for all of the dead, were held on Sun- day night in many churches of New York, and in Brooklyn at the Academy of Music, Hooley's Opera House and Park Theatre. In all of them, crowds of people assembled to do homage to the memory of the lost. Among the speakers, Henry Ward Beecher was prominent. He held forth at Hooley's Opera House, on Court street, where now stands the new Dime Savings Bank. The Rev. Dr. Storrs was at the Academy of Music. At the Park Theatre the Episcopal burial service was read by Dr. D. N. Miller, and Rev. Dr. Theodore L. Cuyler delivered a feeling address. In many other churches throughout the city special services were held ; in fact, the whole Sabbath day was devoted to the memory of the heart-rending accident, and its afflictions to the living relatives.

A Monument now lifts its tall and graceful marble shaft where lie the congregated dead of this frightful calamity. "There is no evil so great but some good will come out of it." Every community throughout the civilized world took a lesson from the sad mishap by providing better safeguards for the es- cape of large assemblies of people, whether in theatres, concert-halls, or churches.

The ruins of the burnt theatre stood undisturbed until 1879, when Messrs. McCue, Kingsley and Keeney erected on the site, what is now known as

"Haverly's Theatre." It opened under his management, October 4th, 1879. The front of the theatre this time was placed on Johnson street, and in its construction every care was taken to make its places of egress equal to the greatest emergency, so that a full house can be emptied within the short space of five minutes.

We must now, in our condensed history of the drama in Brooklyn, go back to the days when the Con ways left the management of the Park Theatre to risk their little fortune in the ill-fated Brooklyn Theatre, in 1871. Shortly after they took up their new dramatic abode, Messrs. Carroll and Mccluskey became the managers of the little Park Theatre, at the head of which they remained for about a year, performing melodramas and sensational plays with but moderate success. After these gentlemen came Mr. John P. Smith, who held the theatre for about the same length of time, with little, or no better success. In

1873 the owner of the property leased the Park Theatre to Mr. A. R. Samuells, who, at a large expense,

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HISTORY OF KINGS COUNTY.

altered it so that the parquette floor was on a level with the street (a great improvement), and the theatre was made equal in appointments to the new Brooklyn Theatre. It was then called the " New Park Theatre." But it did not succeed under Mr. Samuells' manage- ment. In

1874 Mr. Edward Lamb, a genial gentleman and an excellent comedian, and a great favorite with the Brooklyn public, while under the Conways' management of the Park Theatre, now became the next lessee of the New Park Theatre. He opened it with a good com- pany, and played many of the best " star combinations," among whom were John Brougham, John E. Owens, Miss Luchle Western and others. Mr. Lamb's manage- ment was of short duration.

1875 .- The lesseeship next fell into the hands of Colonel Wiliiam E. Sinn, and up to the present time he still holds possession. Mr. Sinn was a man of great energy and business tact, and it can be safely said that he made more money during his management than any person who ever controlled the destinies of the Park Theatre. In rapid succession he played all of the best stars in the country, whether of tragedy, comedy, or English opera. It was a rare thing not to see the house filled to overflowing. The little Park Theatre, of which the writer had the honor of being the founder, has been the most successful place of amusement in the city of Brooklyn.

1876 .- Mr. George Wood, for many years man- ager of " Wood's Museum," New York, took Hooley's Opera House on Court street, and, re-decorating the whole interior, made it a beautiful little theatre. He opened it in the early part of this season with a small but excellent company. During his management, he produced some of the best light comedies, and several of the best combination companies performed there, with moderate success. Among these combinations were Daly's Fifth Avenue company, of New York.

On February 25th, 1878, Mr. Gabriel Harrison pro- duced for the first time his dramatization of Haw- thorne's " Scarlet Letter." His daughter, Viola Harri- son, made her first appearance upon any stage, in the character of Hester Prynne. Mr. Harrison painted new scenery for his own piece, aud produced the drama with every detail of stage effects. The play had a rnn for an entire week to crowded houses, and the press of New York and Brooklyn spoke of the drama and per- formance in the highest terms. It is so seldom that an American play, in plot, is produced, that the cast of characters, &c., &c., becomes a dramatic fact worthy of record.

" THE SCARLET LETTER."

Roger Chillingworth, Gabriel Harrison Hester Prynne. .Miss Viola Harrison

Rev. Arthur Dimmesdale. E. E. Barry

Mr. Bellingham, Governor of Boston, Mass .J. E. Howe

Rev. Mr. Wilson.

T. R. Hann

Master Townsman J. Montgomery

Citizen Rawson. .J. Warner

Master Brackett (Town Beadle). J. Greaver

Captain Goodwill. W. Denny

Pearl, 7 years old. Miss Florence May

Mistress Hibbins, Governer Billingham's sister, and a New England witch. . Mrs. Lemiene

Mistress Gossip. Miss Edmonson

Mary Mercy Miss Nelson

Mistress Small

Miss Storsr

Witches and Indians:

Swamp- Fox. J. Howard

Spear-Head. B. Failes

Fleet- Wing. .D. Carroll

Blighted-Trunk, 80 years old. .G. Lentus

Weeping- Willow

Miss Foot

Scenery and Incidents in Boston, A. D. 1864.

Mr. Wood, though one of the most careful mana- gers in the country, failed to make this theatre a financ- ial success, and closed its doors in the early spring.

1879 .- The Hooley Opera House changed its name to the Court Square Theatre, and successively fell into the hands of several itinerant managers, who all failed of success. It then was leased to a Mr. Buu- nell, who turned the place into what he called a " Dime Museum," which under his management, was a snc- cess, and so it continued until May, 1883, when the property was sold to the Brooklyn Dime Savings Bank ; and, upon the spot of this once popular place of amuse- ment, now stands the splendid building that is one of the architectural adornments of the city.

The next place of amusement that started up in the City of Brooklyn was

The Standard (or "Volks") Theatre, situated on Adams street, west side, and a few doors south of Myrtle avenue. This building was originally a market. It soon failed as such, and remained closed for several years. The upper floor of this building was at one time used as a ball-room, with an entrance to it on Myrtle avenue.

Messrs. Hyde and Behman became lessees of this property, and taking out the upper floor converted the place into a theatre, and opened it as such on May 19th, 1877. The class of amusements given therein is known as " Varieties," and was visited by men and boys only, and for this style of amusement the place became a great success.

Music Hall .- The next place of amusement that calls our attention was a minstrel hall, on the corner of Fulton and Flatbush avenues. It was a large frame building, and was first altered into a theatre by Welch and Hughes in 1872. The place never was a success. In 1878, the building was taken down, and on the site has been erected a fine brick building, called " Music Hall." This hall was first opened to the public in 1880, and is used for concerts and lectures.

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THE DRAMA, OPERA, MUSIC AND ART.

The Olympic Theatre .- In 1859 the Elm Place Congregational Church, wishing to erect a larger edifice in Elm place, where the Grand Opera House now stands, leased a piece of ground, to the east of the old Dutch Church burial-grounds, on the south side of Fulton avenue, between Hoyt street and Gallatin Place, and put thereon a brick building for their tem- porary accommodation, which they called Brooklyn Tabernacle. In it the Rev. William Oliver Bartlett preached for several years, until the removal of the con- gregation, May 1st, 1864, to the former location, when the premises reverted to the owner, Mr. A. S. Wheeler. They were then leased for five years to the county, as an Armory for the Fifty-Second Regiment. The regi- ment was disbanded before the termination of the lease. After this. it was occupied by the " Constitution Club," as a political wigwam. On May 1st, 1869, Thomas L. Donnelly, in conjunction with R. M. Hooley, entered into possession, and reconstructed the building into a theatre, which for many years was known as the Olympic Theatre. In 1870 Mr. Hooley retired, and his place was filled for a short time by Edgar Dewell ; upon the withdrawal of the latter, Mr. Donnelly con- tinued as sole lessee until May 1st, 1876. Mr. Charles Chevalier, Pierce L. Jarvis, Daniel Hatfield and John S. Leese became the managers, January, 1879, when the theatre was again remodeled. At this time a frame house, which stood at the front of the theatre was now removed, and a spacious brick entrance to the theatre took its place. Shortly after this the premises were assigned to Richard Hyde and Louis C. Behman. It then became the Standard Theatre, and was so retained till 1883, when it was again subleased to John W. Holmes, as the Standard Museum.

The Grand Opera House .- The last new theatre, up to this present time, is situated on Elm place, west side, south of Fulton avenue. It is erected on the site of the Congregational Church, which was destroyed by fire in 1878. This theatre was first opened to the public in 1881. The first owners of the theatre were Messrs. Barry Fay and Lewis, and from them it was purchased by Messrs. Hyde and Behman. At the present time, it is under the management of Messrs. Rundles and Morris. The Grand Opera House, with the exception of the Brooklyn Academy of Music, will seat more people than any other place of amusement in Brooklyn. The interior is pleasing to the sight, and is well furnished with a good stock of scenery and every- thing that pertains to a well-provided stage. The management is in excellent hands, and, as a place of amusement, has been a success from the start. It is run on the " star" principle.

The Novelty Theatre .- The first theatre that acquired any success in the Eastern District of Brooklyn, was the Novelty Theatre. This build-

ing was erected in 1852, by Messrs. Alfred and Henry Kemp, builders. It was called the " Odeon, " aud was intended for a ball-room and public meet- ings. At this time it was the largest public hall in Brooklyn or Williamsburgh. Messrs. Kemp subsequently failed, and the property was sold under foreclosure, and passed into the hands of several own- ers. After this a stage and some scenery was put into the back end of the hall, and it was conducted as a thea- tre by Alfred Theall, Samuel Lewis and others. At the time of the Rebellion, the building was used as a drill-room, etc. This, however, was before it was used for theatrical purposes. In 1868, the building passed into the hands of R. M. Hooley, who fitted it up as a variety theatre; but not a success, he sold the place in 1869. In 1870, it was sold under foreclosure again, and purchased by the present owners, Thomas F. Jackson, James Rodwell and Henry Waterman, who fitted up the building as a ball-room, and named the place Apollo Hall. In 1878, the building was entirely reconstructed, and converted into a theatre in every particular, named the "Novelty," and leased to Thomas Theall, who subsequently formed a copartnership with Henry Williams. The place is still under their man- agement, and is run as a star-theatre.

We here close our history of the Drama in Brooklyn, having faithfully traced from the first known dramatic performance in Brooklyn, 1776, to 1883. We have been more particular in giving the details of the ear- liest dramatic performances in Brooklyn, since they il- lustrate the struggles of the drama to find a foothold in Brooklyn ; and from the fact that every additional year makes it more difficult to secure the data for the his- torian to work from. At the present time, the city of Brooklyn has several daily newspapers that not only record every night's performances at the theatres, but also give a general criticism on the characteristics of the actors, and the manner the different plays are placed upon the stage. These papers will preserve and furnish in detail abundant matter for the future historian of the Drama and Music in Brooklyn.

The Drama is the most entertaining and instructive amusement the people can have. It has always flour- ished in the largest and most celebrated communities. The growth of its refinement did, and must always, keep pace with the advancement of civilization.

The dramatic art is a combination of all the sister arts-music, painting and poetry blended into one ; and the populous city that is without the charm and intelligence of the drama, is without the most needed nourishment of the human mind.

All that Brooklyn now requires to make complete her places of instructive amusement is a well-appointed theatre, with a first-class stock company, managed on the principles of Wallack's or the Union Square Thea- tre of New York.

THE PROGRESS OF MUSIC AND OPERA IN BROOKLYN.

THE history of the progress of Music with the growth of any city or country is always interesting. It is a language of the soul, felt and understood by every class of human beings; and, in accordance with the civilization of a people, so will it advance to a higher and a more scientific condition. In this respect, large cities have an advantage over the smaller ones, because they can better afford to support the best talent-thus offering an example and an incentive to musical cul- ture.

The first musical performances that were given in Brooklyn were at the time when the population was too small and too poor to encourage the best artists, by frequent exhibitions of the highest class of music. Therefore, the earliest encouragement that music re- ceived in Brooklyn was through the medium of the church choirs.

1810 .- The first musical performance in Brooklyn, worthy of notice, was an " oratorio" given by the vestry of St. Ann's Church for the bene- fit of Mr. Pierson, the leader of its choir. On Thurs- day evening, October 4th, "a grand selection of sacred music, vocal and instrumental," was advertised to take place, but no mention was made as to who the perform- ers were. The price of admittance was fifty cents. Mr. Pierson was long and favorably known in New York and Brooklyn as a leader of church music. Another public musical entertainment followed at the same church on the 13th of May. After these there were no other public performances until

1813, when a concert was given for the benefit of the Loisian Seminary for the education of "forty poor female children." The performers were volunteers from New York City. Mr. S. P. Taylor presided at the organ. The public were admitted free, and a col- lection was taken up between the first and second parts of the programme.

The first concert given outside of the church was at Mr. Stockoff's " Military Garden," spoken of elsewhere as " Green's Military Garden," and afterwards "Duf- lon's." This concert was given by the Panharmonic Society of Brooklyn, on the 2d of December. This society was organized on the 1st of May, 1813. Mr. Taylor was its first president, and perhaps its last. The society gave three public performances, and then nothing more was heard of it. After this there was another long interval until

1819, when Mr. Cartwright, the celebrated per- former on " musical glasses," gave a concert on the 27th of October, at Columbian Hotel, "tavern and tea garden," 137 Fulton street. Mr. Cartwright was an Englishman, who came to America in 1818. He was an exquisite performer, and attracted large audiences throughout the United States.

1823 .- Mr. Duflon fitted up a little stage at " Mili- tary Garden" (formerly known as Green's), and open- ed on the 14th of June, with a concert. Mr. Bristow acted as leader of the band.

1825 .- January 28th, a "Grand Sacred Concert" was given at the First Presbyterian Church, for the benefit of the " holy cause of Grecian emancipation from bondage." It was under the direction of Mr. L. P. Cole, of New York; Messrs. Dyer, Riley and Moran were among the singers. Selections from Handel, Mozart and Beethoven were performed. All of the first named gentlemen were well known in New York as leaders of church music.

1829 .- The Sacred Music Society of Brooklyn, attached to the Cranberry Street Church, gave three public concerts at St. Ann's Church this season. The names of Mr. Taylor, Pearson, Coats, Miss Humbert, Miss Pearson and Mrs. Whelply were on the pro- gramme.

1830 .- Mr. Bristow gave two concerts for the be- nefit of the Appentices' Library. Mr. Bristow acted as conductor. On this occasion Mr. Solomon, of London, appeared, assisted by Mr. B. Colby, Thornton and others. The Apprentices' Library stood on the corner of Cranberry and Henry streets ; the building was of brick. The corner-stone was laid by General Lafayette on July 4th, 1825, while he was at that time on a second visit to this country.

1834 .- December 11th, a "Grand Oratorio" was given at St. John's Church, for the benefit of the Sun- day school, at which Miss Watson, Mrs. Franklin and Mr. Trust were the principal artists. Both of the ladies mentioned were at the time prominent concert- singers in New York.

1835 .- Mr. Trust gave a fine concert, at "Clas- sical Hall," Washington street, January 16th. Sig. Gambarti, the celebrated cornet-player, who had made a great sensation in the city of New York, now per- formed for the first time in Brooklyn. Mr. Kyle (flute),

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THE PROGRESS OF MUSIC AND OPERA IN BROOKLYN.

Mr. Phillipson (piano), and Mrs. Franklin (soprano) filled up the programme. July 4th, Miss Watson, Sig. Montressor* and Mr. Trust (harpist) gave a concert at the same hall. This was one of the finest musical exhibitions that had ever been given in Brooklyn.

1837 .- Mr. Henry Russell, a fine tenor, gave a concert at Classical Hall, April 25th, on which occa- sion Mr. Edwint and Mr. Thomas Scott made their first appearance in Brooklyn. Both of these last named gentlemen were excellent artists.

In September of this year, a Sacred Music Associa- tion was formed for the "practice and performance of sacred music, and particularly of anthems and chants." Mr. Adrian Hegeman was elected president of the society ; and Mr. Joseph Sprague, 1st vice-president ; Cyrus P. Smith, 2d vice-president; H. B. Duryea, secretary ; P. T. Arcularius, treasurer ; and O. D. Burtis, librarian. The first performance of this so- ciety took place on the 6th of October, 1837, at the residence of H. B. Duryea, Esq., No. 10 Front street.

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The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 117

Author: Stiles, Henry Reed, 1832-1909, ed Publication date: 1884 Publisher: New York, W. W. Munsell & Co Number of Pages: 1345

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345